DOCSLIB.ORG

Sch00l of Distance Educat10n

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sch00l of Distance Educat10n UNIVERSITY OF CALiCUT 14 SCH00L OF DISTANCE EDUCAT10N STUDY MATERIALS M.A.ENGLISH (PREVIOUS) (1 997 Adnlissio甲 ) | PAPER Ⅲ BRITISH LITERATURE SURVEV:FROM THE ViCTOR:AN‐ AGE T0 1940 ,Copy Bights Reserued (」 UP/3031/05/1ⅨЮだDE‐ 1 4 B.DRAMA f.力χおルr Sr2の 加D′ralJ PAPER‖ :BR:TiSH L:TERATURE SURVEY IS E‖ ot Murder in The Cathedral FROM THE ViCTOR:AN AGE T0 1940 2.2xお ル ″G′″´rar S餞ゥ G B Shaw St.Joan Max Marks:120 」.M Synge Riders to the Sea Sean O'Casey Juno and the Paycock A POETRY Cristopher Fry The Lady is not for Burning f.■潔Jars滋 のiZ`′ガJ C.PROSE AND FlCT:ON Alfred,Lord Tennyson "The Lotos Eaters" Robert Brown!ng "Andrea Del Sarto" l. Texts for Sturly in detail Matthew Arnold "Dover Beach" Virginia Woolf Modern Fiction Thomas Hardy "The Darkling Thrush" 2. Texts for General Study G M Hopkins 1 . "The Windhover" Matthew Arnold Pretace to 1853 poems 2. "No Worst, there is none" Emily Bronte Wuthering Heights W B Yeats 1."Easter1916" Charles Dickens Hard Times 2. "Among Schoolchildren" George Eliot The Mill one the Floss 3. "Byzantium" Thonas Hardy Mazor of Casterbridge IS E‖ ot "The Love-Song of Alfred Joseph Conrad Heart o, Darkness "Little Gidding" James Joyce A portrait o{ the Artist as a Young Man W H Auden "The Shield of Achilles" D.H.Lawrence Sons and Lovers 2.ル名おル (ル り Virginia Woolf To the Lighthouse 「 "araI Sa“ Robert Browning "Porphyria's Lover" Arno:d "The Scholar-Gypsy" c M Hopkins "Felix Randal" W B Yeats "Lapis Lazuli" Break up: 4 Annotations + 3 Essays + ssh. notes + 1O obj. Wi!fred Owen "Futility" (8 x 4 + 20 x 3 + 6 x 3 + 10 = 120' IS E‖ ot "The Waste Land" 」ohn Beteman "Green Away" W H Auden "ln Memory of W.B.Yeats" Louis Mac‐ Neice "The Sunlight on the Guardian" Stephen spender "The Express" ／ ヽ ― 「 、 5 6 proceeds, Andrea meditates on his life, on his art, on his love lor SECTION A - POETBY her and on her treatment of him. Lines 1-20 ANDREA DEL SARTO Andrea is apologetic and implores his wife not to quarrel any more. He assures her that he is willing to paint a picture for ROBERT BROWNING her 'friend's friend'the next day and that he will abide by the Browning selects his subiect from all ages history and of sublect, time and even the price chosen by that friend, all that he lrom various phases of human aciion, character and passion. Like wants is to sit by the window, holding her hand in his ('as married many o, his works,'Andrea Del Sarto'reveals his interest in ltalian people use') and to look towards Fiesole (a small town on a hill Renaissance and art. The poem was wrilten in reply to a friend's iop near Florence), quietly for just an hour. lf she gives him this request for a photograph of Andrea del Sarto's self-portrait in the privilege, he might get the enthusiasm and joy to do the painting Pitti Palace, Florence and is based on the account of the painters which would fetch her the money she needs. life as given by Vasari in his'Lives of the Painters'. The setting is carelully chosen. The tone is subdued and Andrea del sarto (called the 'Iaultless painter') a Florentine autumn evening reflects the mood of the aged and deleated An- born in 1486 was known for his technical master. He married drea. His excessive love lor his beautiful young wife, who cares Lucrezia del Fede, whom he loved all his life and for whom he only for money and his readiness to degrade his art for her sake sacrificed everything, but who proved be his undoing. He also to are hinted at. used her as a model for his Madonas and other painlings. He was Lines 21-34 invited by Francis I to the French Court and there painted some of his best pictures. Although he was successful and in royal favopr, Andrea is enthralled by the perfect physical beauty of his worldly wife tempted him to return to Florence, where he built Lucrezia and luxuriates over it. As Andrea holds the soft hand of a house for himself and his wife out of the money given to him by his wife, he imagines he is embracing her. ('Your soft hand is a the King to purchase pictures. Because of his weakness of will woman of itself). He calls her 'serpentining beauty, rounds on and his excessrve love ,or his wife, Andrea submitted himself to rounds', because serpents with their tails in their mouths (i.e. cir- every whim of his wife, knowing fully well that she was indifferent cular in form) are symbols of perfection. (The irony that she is to his art and was even unfaithlul to him. Andrea died of plague in deceitful like a serpent, who has entwined herself round him is 1530, deserted by his wife and disappointed at his lailure as an also implicit). He calls her' My face, my moon, my everybody's artist. moon'. Though she belongs to him, he is aware that he has no Browning's poem is in the lorm of a speech by Andrea ad- exclusive right over her. Everyone looks at the moon and loves it. dressed to his wife Lucrezia. He is an aging and disappointed man, The moon [n turn looks on every one, but loves no one in particu- looking out over Florence from his studio. lt is an aulumn evening, lar. Though Lucrezia is loved by many, she is incapable ol genu- particular, which is in tune with Andrea's mood of weariness and sterility. We ine love for anyone in least of all for her husband. break in upon the last words of a quarrel for money and Andrea's Lines 35-52 pathetic request to her to bear with him for once. As the poem These lines blend the autumnal twilight v/ith the twilight of 7 8 the painter's hope and aspirations. Lucrezia's pride in him has dis- ists and himsell. While others are easily excited, he is unmoved appeared and everything about him is toned down like the grey as the mountain itself. His paintings, though faultless, are not in- that suffuses nature outside. The autumn landscape is gloomy, spiring and he attributes his failure to his love tor Lucrezia. quiet and there is a sense of foreboding. Days become shorter The essenue of Browning's philosophy is contained in the and Andrea realises that there is autumn in everything. The toiling lines: bell, the chapel's tower, the convent hall, the solitary monk and 'Ah, but a man's reach should exceed his grasp, the growing darkness - allthese suggest the quite, sombre evening Or what's a heaven Jor?' almosphere, which Andrea finds within himself too, 'a twilight piece' The very idea of Heaven implies unattainable perfectic as he€alls it. He seems his entire life and works a failure, which One's failure while trying to achieve the impossible is nobler than ― now await final dissolution. He, however, attributes his failure tL タ the success or attainment of limited aims. Andrea's tragedy, ai God. 'Love, we are in God's hand' and that gur freedom of action he himself realises, is the tragedy ot powers unstretched to tli. is only an illusion, he tells Lucrezia, who is not even listening to uttermost. He knows what to achieve and how to achieve it. But him. he does not have the will, the drive, to pursue it. He is aware of his Lines 53-87 moral and spiritual inadequacy. His soul is wholly devoted to Andrea tells Lucrezia how technically perfect his paintings Lucrezia and hence his failure as an artist. are and how easily he can draw them. He draws the attention of Hnes 104 - I3I the unwilling Lucrezia to some of his paintings and talks of his Andrea points to a painting by Bafael and talks of the high extraordinary skill. He can very easily accomplish what others can ideals which inspired him to paint it, though it may have some only dream of lnspite of hard work they can never reach anywhere physical defects here and there, lhe soul or the spirit is unerring[r near him. He mildly reproaches herthat she has no idea the trouble oaptured. But all the play, the insight and the slretch, which ● the other artists take to paint the trifle which he did so easily and characterises Rafael's paintings are out of him. (Rafael is called which she spoiled so carelessly by allowing her flowing dress to 'Urbinate', as he was born at Urbino and was one of the greatest take away a part of the wel paint. But then, he lacks the fire and artists. He was a contemporary oI Andrea.) Andrea alter:,..iely spirit of great artists. ":Less is more' he sadly muses. Achieve- blames Lucrezia and himself tor his inability to rise to ri'e level of ments, which fall short of complelion, because their aim is high, is Ralael or Michelangelo. Had she possessed the beauty of thb mind, greater than achievements which have attained completion by aim- along with her physical beauty he could have dorrc works of last- ing low. The productions oI other artists may be inferior to his in ing value. Andrea compares himself to a bird and Lucrezia to the technical mastery, but theirs are nobler because of their high ide- fowler (the bird-catcher).
Load more

Recommended publications
  • Ttu Mac001 000057.Pdf (19.52Mb)
    (Vlatthew flrnold. From the pn/ture in tlic Oriel Coll. Coniinon liooni, O.vford. Jhc Oxford poems 0[ attfiew ("Jk SAoUi: S'ips\i' ani "Jli\j«'vs.'') Illustrated, t© which are added w ith the storv of Ruskin's Roa(d makers. with Glides t© the Country the p©em5 iljystrate. Portrait, Ordnance Map, and 76 Photographs. by HENRY W. TAUNT, F.R.G.S. Photographer to the Oxford Architectural anid Historical Society. and Author of the well-knoi^rn Guides to the Thames. &c., 8cc. OXFORD: Henry W, Taunl ^ Co ALI. RIGHTS REStHVED. xji^i. TAONT & CO. ART PRINTERS. OXFORD The best of thanks is ren(iered by the Author to his many kind friends, -who by their information and assistance, have materially contributed to the successful completion of this little ^rork. To Mr. James Parker, -who has translated Edwi's Charter and besides has added notes of the greatest value, to Mr. Herbert Hurst for his details and additions and placing his collections in our hands; to Messrs Macmillan for the very courteous manner in which they smoothed the way for the use of Arnold's poems; to the Provost of Oriel Coll, for Arnold's portrait; to Mr. Madan of the Bodleian, for suggestions and notes, to the owners and occupiers of the various lands over which •we traversed to obtain some of the scenes; to the Vicar of New Hinksey for details, and to all who have helped with kindly advice, our best and many thanks are given. It is a pleasure when a ^ivork of this kind is being compiled to find so many kind friends ready to help.
    [Show full text]
  • Matthew Arnold
    MATTHEW ARNOLD. THE POETICAL WORKS OF MATTHEW ARNOLD COMPLETE EDITION WITH BIOGRAPHICAL INTRODUCTION -OOX^OO- NEW YORK THOMAS Y. CROWELL & CO. PUBLISHERS COFYRIGHT, 1897, Bv T, Y. CROWELL & CO. Notbjooti IPnss J. S. Cushius & Co. - Berwick & Smith Norwood Masi. U.S.A. CONTENTS. PAGE NOTE . viii BIOGRAPHICAL INTRODUCTION ix BIBLIOGRAPHY xxiii EARLY POEMS. SONNETS:— Quiet Work I To a Friend . 2 Shakspeare 2 Written in Emerson's Essays 3 Written in Butler's Sermons 3 To the Duke of Wellington 4 " In Harmony with Nature " 5 To George Cruikshank 5 To a Republican Friend, 1848 . • . 6 Continued 7 Religious Isolation 7 MVCERINUS 8 THE CHURCH OF BROU : — I. The Castle 12 II. The Church 16 III. The Tomb 18 A MODERN SAPPHO 19 REQUIESCAT 21 YOUTH AND CALM 22 A MEMORY-PICTURE 23 THE NEW SIRENS 25 THE VOICE • • • 34 YOUTH'S AGITATIONS • • • 36 iv CONTENTS. PAGI THE WORLD'S TRIUMPHS 36 STAGIRIUS 37 HUMAN LIFE 39 TO A GYPSY CHILD BY THE SEASHORE ... 40 A QUESTION 43 IN UTRUMQUE PARATUS 43 THE WORLD AND THE QUIETIST 45 THE SECOND BEST A6 CONSOLATION .y RESIGNATION .g A DREAM c8 HoRATiAN ECHO eg NARRATIVE POEMS. SOHRAB AND RUSTUM gj THE SICK KING IN BOKHARA -.'... 88 BALDER DEAD: — I. Sending .... z: 11. Journey to the Dead j^g III. Funeral ' n6 TRISTRAM AND ISEULT: I. Tristram . 13^ II. Iseult of Ireland .... III. Iseult of Brittany SAINT BRANDAN ... * • 52 THE NECKAN * ' ^ 162 THE FORSAKEN MERMAN ' ' '^^ . 164 SONNETS. AUSTERITY OF POETRY A PICTURE AT NEWSTEAD . ' • • • 169 RACHEL: I., IL, in. , " ' * ' ' -'69 WORLDLY PLACE ' * • • • 170 • • , 172 CONTENTS.
    [Show full text]
  • The Scholar-Gipsy Study Material
    The Scholar-Gipsy Study Material Summary “The Scholar-Gipsy” was written by poet and essayist Matthew Arnold in 1853. The poem is based on a story which was found in The Vanity of Dogmatizing (1661), written by Joseph Glanvil. The poem tells the story of a poor and disillusioned Oxford student who leaves university to join a group of traveling “gipsies” (Romani people). The Scholar-Gipsy wants not only to withdraw from his studies but also to withdraw from the modern world. He is so welcomed and becomes such a part of the "gipsy" family that they reveal some of their secrets to him. When he is discovered by two of his former Oxford peers, he tells them of how the Romani have their own unique way of learning. He plans to stay with them to learn as much as he can from them. He will then share their wisdom with the world, although he does not wish to return to that world himself. Arnold begins his poem by describing a rural setting just outside of Oxford. The speaker watches as a shepherd and reapers work in a field there. The speaker remains, enjoying the view of the fields and Oxford in the distance until the sun sets, his book lying beside him. Although the story (1661) was written two hundred years before the poem (1853), local people still claim to see the scholar-gipsy walking on the Berkshire moors: This said, he left them, and return'd no more.— But rumours hung about the country-side, That the lost Scholar long was seen to stray, Seen by rare glimpses, pensive and tongue-tied, In hat of antique shape, and cloak of grey, The same the gipsies wore.
    [Show full text]
  • The Sea of Faith and the Battle by Night in Dover Beach Author(S): Buckner B
    The Sea of Faith and the Battle by Night in Dover Beach Author(s): Buckner B. Trawick Source: PMLA, Vol. 65, No. 6 (Dec., 1950), pp. 1282-1283 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/459734 Accessed: 15-12-2015 00:26 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA. http://www.jstor.org This content downloaded from 129.96.252.188 on Tue, 15 Dec 2015 00:26:06 UTC All use subject to JSTOR Terms and Conditions COMMENT AND CRITICISM 1. THE SEA OF FAITH AND THE BATTLE BY NIGHT IN DOVER BEACH THERE can be little doubt that the two principal figures of speech around which Dover Beach was built came originally, as C. B. Tinker and H. F. Lowry point out, from Sophocles and Thucydides. But there is strong evidence that Arnold drew the figures directly from a source much closer at hand: a poem by his inti- mate friend Arthur Hugh Clough. Thomas Arnold had edited Thucydides during the years 1830-35.
    [Show full text]
  • Dover Beach Study Guide
    Dover Beach Study Guide © 2018 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary Matthew Arnold’s “Dover Beach” is a poem set near Dover, along the southeast coast of England, where Arnold and his new wife spent their honeymoon in 1851. It is believed that the poet wrote the early draft of “Dover Beach” while here, overlooking the English Channel toward the coast of France, about twenty-six miles away. Arnold and his wife are often considered the models for the speaker and listener in the poem, although any young man and woman could represent the two figures in the tale, caught in a moment of their early lives. “Dover Beach” is most often classified as a dramatic monologue, a poetic form that Alfred, Lord Tennyson, and especially Robert Browning, found extremely attractive. The monologue, or poem spoken by a single voice, is made dramatic by the presence of a silent audience of one or more listeners, whose responses may be indicated by the speaker, or persona. In this way the poet may be empowered to express views using another person’s voice, as William Shakespeare is known for doing. This strategy may have been particularly attractive to Arnold, for the views of his speaker are diametrically opposed to his own education and upbringing.
    [Show full text]
  • Thyrsis Matthew Arnold (1822-1888) Is an English Poet and Critic Whose Works Represent the Victorian Intellect. He Was the Forem
    British Literature IV: Unit 3 – Poetry: Thyrsis Matthew Arnold (1822-1888) is an English poet and critic whose works represent the Victorian intellect. He was the foremost literary critic of his age. His poems are written in an elegiac, meditative mode. They cover a wide range of issues like the drawbacks of philosophy, war, death and the downfall of education. Some of his best poems are “The Scholar-Gipsy” (1853) and “Sohrab and Rustum” (1867). “The Study of Poetry” (1880) is his best critical essay in which he explains the Touchstone Method. “Thyrsis” (1866) is a pastoral elegy on the death of Arthur Hugh Clough, poet and his friend who died in 1861. “Thyrsis” is counted one of the best elegies alongside Milton’s Lycidas (1638) and Shelley’s Adonais (1821). A similar pastoral elegy is “Elegy Written on a Country Churchyard” by Thomas Gray. Arnold has borrowed the death of Thyrsis from Virgil’s Seventh Eclogue. In this classical poem, shepherds Thyrsis and Corydon enter a singing contest, in which Corydon wins. Defeat breaks the heart of Thyrsis and he dies. Virgil blames the gods but Arnold believes that Thyrsis made a mistake by taking Corydon as an opponent. Arnold’s Thyrsis is none other than his friend Arthur Hugh Clough, who made a similar mistake of searching for the truth. Arnold begins the poem with an environmental concern. Once his friend Thyrsis and he visited Oxford country and it was green and beautiful. Now, the beautiful landscape is replaced with a busy city. He searches for an elm tree that had been their meeting spot.
    [Show full text]
  • "Dover Beach" Is Poem of Melancholy and Sadness.- Discuss
    Compiled and Circulated by Samir Kuilya, Faculty Member, Dept. of English, Narajole Raj College ============================================== "Dover Beach" is poem of melancholy and sadness.- Discuss "Dover Beach", written by Matthew Arnold, a famous elegiac poet, critic, and educationalist of the Victorian era, was published in 1867. At that time the country England was involved between science and religion, between Romanticism and Classicism, between materialism and spiritualism. This poem reflects a distinct picture of the poet's melancholic view of life as well as the representation of Victorian loss of faith as a consequence of the rapid growth of science and commerce with the publication of Darwin's "The Origin of Species" in 1859. An elegy is a poem of mourning or a song of lamentation. And Arnold is a poet of melancholy and in this respect he is definitely different from his great contemporaries, like Tennyson, Browning. His well - known poems like "The Scholar Gipsy", "Rugby Chapel", "Thyrsis" bear thoroughly his melancholic and elegiac tone. Arnold's elegiac note is also predominant in ‘Dover Beach’ as usual. The poet is found to lament here not for the death of any person, but for the loss of the simple faith and for the SEM –III (Hons.) , Paper-C5T : Victorian Period ( 1832-1900) Compiled and Circulated by Samir Kuilya, Faculty Member, Dept. of English, Narajole Raj College ============================================== loss of beauty and culture in the prevalent situation. He laments deeply for this state of the present age that has ".....neither joy, nor love, nor light,/ Nor certitude, nor peace, nor help for pain." In "Dover Beach", Arnold's melancholic view is distinct, penetrative, yet tender.
    [Show full text]
  • Department of English Faculty of Graduate Studies London, Ontario
    "But Clear As Words Can Make Revealing? Arnold's Language and the Struggle for Transparency Dan S. Kline Department of English Submitted in partial fulfilment of the requirements for the degree of Master of Arts Faculty of Graduate Studies The University of Western Ontario London, Ontario August 1997 @ Dan S. Kline 1997 National Library Bibliothèque nationale (*m ofCanada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliograohiques 395 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 Ottawa ON K 1A ON4 Canaûa Canada Your Çk, Votie reierenw Our fi& Noire retarence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permehant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fih, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in ths thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be p~tedor otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract In the 1853 "PrefaceN to the Poems, Matthew Arnold argues that the poet should adopt the "grand style" to assist in the production of a type of poetry that is content-driven. The precise nature and meaning of the "grand style" remains one of the more elusive problems in Arnold scholarship.
    [Show full text]
  • MATTHEW ARNOLD the HEROIC DIMENSIONS THESIS Presented to the Graduate Council of the North Texas State University in Partial
    37/ MATTHEW ARNOLD THE HEROIC DIMENSIONS OF MAN'S BEST SELF THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Connie J. DeShane, B. S. Denton, Texas December, 1973 TABLE OF CONTENTS Chapter Page I. INTRODUCTION.. ........ ., 1 The Problem Definition of Terms Sources of Data Method of Procedure Significance of the Problem II. INDUSTRY AND SOCIETY IN THE NINETEENTHCENTURY .. .... ... 13 Scientific and Technological Advances The Social and Political Milieu III. RELIGION AND PHILOSOPHY. 31 The Decline of Traditional Beliefs The Search for New Meaning IV. ROMANCE AND REASON-... .-...... -a 51 V. THE COLLECTIVE SELF. .. 6 7 BIBLIOGRAPHY. , . 80 iii CHAPTER I INTRODUCTION The Problem Matthew Arnold instructed his friend Arthur Hugh Clough: "resolve to be thyself." The quotation is from one of Arnold's own poems of 1850 censuring Clough for his ambiva- lence. The phrase is a synthesis of Socrates' "Know thyself" and Thomas Carlyle's "Know what thou canst work at." In Sartor Resartus Carlyle refuted the possibility of the Socratic imperative, but Arnold's eclecticism permitted him to vary the original in order to accommodate both theories. A study of the poetry reveals what Lionel Trilling calls Arnold's "eclectic and dialectical method."1 This practice of taking the best from existing theories while formulating his own permeates the works of Matthew Arnold. Unlike Clough, who doubted his own teachings and was in a constant flux of opinion, Arnold managed a certain flexi- bility that allowed him to reassess a changing world without nullifying his own basic assumptions.
    [Show full text]
  • Psychological Depths and "Dover Beach" Author(S): Norman N
    Psychological Depths and "Dover Beach" Author(s): Norman N. Holland Source: Victorian Studies, Vol. 9, Supplement (Sep., 1965), pp. 4-28 Published by: Indiana University Press Stable URL: http://www.jstor.org/stable/3825594 Accessed: 26-06-2016 20:16 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3825594?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Victorian Studies This content downloaded from 137.99.31.134 on Sun, 26 Jun 2016 20:16:25 UTC All use subject to http://about.jstor.org/terms Norman N. Holland PSYCHOLOGICAL IDEPTHS AND "DOVER BEACH" SYCHOANALYSIS AND LITERARY ANALYSIS have mingled uneasily ever since 15 October 1897, when Freud simultaneously found in himself and in Hamlet "love of the mother and jealousy of the father." Psychoanalysis, it turned out, could say many interesting things about plays and novels. Unfortunately, it did not do at all well with the analysis of poems. In the symbolistic psychoanalysis of 1915 or so, poems became simply assemblages of the masculine or feminine symbols into which psychoanalysis seemed then to divide the world.
    [Show full text]
  • Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.998 (IIFS)
    Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.998 (IIFS) ARNOLD’S ‘DOVER BEACH’ AS A CRITICISM OF LIFE Mr. More D. A. Assistant Professor, Dept of English R. B. M. College, Chandgad, Dist: Kolhapur (MS) Abstract The present article deals with Matthew Arnold’s theory and practice of poetry. Arnold was a Victorian poet-critic, who evolved his own theory of poetry and defined poetry as ‘criticism of life under the conditions fixed for such criticism by the laws of poetic truth and poetic beauty’. He wrote poetry in conformity to his definition of poetry and his poetry is a criticism of life in the Victorian Age. As a Classist, Arnold reacted to the Victorian Age marked by loss of religious faith, fast dying traditional values, materialism, scientific temperament, industrial growth, unrest, doubt, despair and skepticism. As a Victorian poet, he observed facts and condition of life and presented them in his poetry critically. Arnold’s poem Dover Beach is the best example of Arnold’s theory and practice of poetry as criticism of life. It deals with materialistic world and resultant feeling of melancholy and Despair. Matthew Arnold (1822 -1888) was a Victorian poet turned critic who evolved his own theory of poetry. As prolific and versatile writer, he produced a large number of works both in verse and prose. He produced poetry of various types,such as narrative, dramatic, lyric, elegiac and reflective and various forms of prose criticism,like literally, social,political,educational and religious.
    [Show full text]
  • The Religious Element in the Poetry of Matthew Arnold in Relation to the Victorian Era
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1949 The Religious Element in the Poetry of Matthew Arnold in Relation to the Victorian Era Mary Maristella Wagner Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Literature in English, British Isles Commons Recommended Citation Wagner, Mary Maristella, "The Religious Element in the Poetry of Matthew Arnold in Relation to the Victorian Era" (1949). Master's Theses. 706. https://ecommons.luc.edu/luc_theses/706 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1949 Mary Maristella Wagner mE RELIGIOUS KLEMENT IN THE POETRY OF MATTHEW ARNOLD IN RELATION TO 'lliE VICTORIAN ERA By Sister M. Maristella, O.S.F. A THESIS SUBMITTED IN PARTIAL FULFILIJ4ENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LOYOLA UNIVERSITY January 1949 VITA Sister M. Maristella, O.S.F. was born in Creighton, Nebraska, September 1, 1916. She was graduated from Saint Ludger Academy, Creighton, Nebraska, June, 1933. In September of that same year. she entered Saint Joseph Convent, Milwaukee, Wisconsin. The Bachelor of Philosophy degree with a major in English was conferred by Loyola University, August, 1943. From 1935 to 1944 the writer was engaged in teach­ ing in the elementary schools of Milwaukee and Chicago.
    [Show full text]